#jonas lindstroem

[musicvideoviz]

Kendrick Lamar, "ELEMENT.," DAMN. (2017) dir. Jonas Lindstroem & the little homies

[theleoisallinthemind]

Jonas Lindstroem

[papivirrtual]

Marc o’polo ad feat Felix cheong-macleod, Felix gesnouin, ko ga young, karishma purohit & ottawa kwami, ph. jonas lindstroem

[everylittoral]

Jonas Lindstroem

[people-dujenoir]

Jonas Lindstroem

[cultreslut]

photos by Jonas Lindstroem for atmos magazine

[achillesinhighheels]

One Dollar Dream

Photography by Jonas Lindstroem

[horizonlock]

- Jonas Lindstroem

[myanhedonia]

Kendrick Lamar - ELEMENT. Directed by Jonas Lindstroem & the little homies

[sorryfortheyouth]

By Jonas Lindstroem for Peggy Gou https://www.instagram.com/sorry.for.the.youth/

[soylazaro]

Jonas Lindstroem for Zeit Magzin: Wo sind unsere Grenzen? from Bureau Borsche on Vimeo.

Regisseur: Jonas  Lindstroem  Kamera: Nicolai  Niermann  Styling:  Klaus  Stockhausen  Produktion: Iconoclast  Ausführender  Produzent : Nils  Schwemer  Produzent:  Jannis  Birsner  Casting-Direktoren: Affa  Osman,  Dominique  Booker  Choreograf : Michael-John  Harper  Co-Autorin : Eva  Kelley  Make-up : Patrick  Glatthaar Musik:  Silvio Audio-Mastering:  Rasmus  Lauvring Stimme:  Eva Kelley  Schnitt : Jonas  Lindstroem,  Nicolai  Niermann  Postproduktion : Studio  Private Postproduktions-Geschäftsführer: David Smith  Postproduzent: James  Lowrey  Koloriererin : SAMANTHA DAY  Animation:  Spellwork  Pictures  BTS Photographer:  Mark  Othmer  Regie-Assistent : Maximilian  Semlinger  Produktionsleiter:  Justus  Toussaint  Produktionskoordinator : Moritz  Tibes Produktionsassistent: Leyli Khatebzadeh  Gimbal Operator: Julian Hanschke  2. Kamera-Assistent: Sirinton Kaomanit  Licht-Assistenten: Raul Suciu, Mark Othmer Make-up-Assistent : Patricia  Heck  Styling-Assistenten:  Annemarie  Lahr-Eigen,  Alexander  Gabriel,  Vincent  Mank Set-Runner:  Bastian  Faralisch,  Assad  Rajab Models:  Alexander  Selzer, Amra  Novak, Anton  Wendel, Azama  Bashir, Azza Bashir, Benny  Opoku-Arthur, Christopher  Cakmak, Christopher  Rosenthal, Cissel  Dubbick, Eliot  Dupuis, Elvis  Vos, Evans  Yeboah, Ingo  Rimpler, Joaquín  Quintana, Jomkwan  Emeli  Phoonthong, Jörg  Janzer, Julia  Stöckemann, Julian  Breuer, Justin  Akitoye, Katrice  Dustin, Leon  Konrad  Glitsch, Malik  Bitko, Max  Polaski, Michael-John  Harper, Mirko  Stübing, Nicolas  Kowalski, Nisa-Maranda  Jones, Paul  Joyce  Theresin, Philipp  Rosenthal, Rayene  Rezouani, Rhina  Raths, Sophie  Stöckemann, Stiven  Nowak, Winnie  Denis, Yeboah  Evans 

Besonderen  Dank  an: UFO  Filmgerät, ATR  Motorsport, Reitclub am  Olympiapark e. V., SoHo House – The Store, Stuntcrew  Babelsberg, Sermed  Darah

[theleoisallinthemind]

By Jonas Lindstroem for Metal Magazine

[s3888508]

Journal Prompt 2

Jonas Lindstroem's "TRUTH OR DARE is characterized by a dynamic use of cuts which play a significant role in shaping the viewer's experience. With a total of 32 cuts, the piece features a relatively high frequency of cuts, creating a visually engaging and fast-paced narrative.

The duration between the cuts varies, with the longest shot lasting 26 seconds and an average shot duration of 12 seconds. These rapid cuts transition the viewer through time and space, transporting them from one self-contained vignette to another. In this way Lindstroem simulates the experience of scrolling through social media where each cut acts as the ending of one story and the beginning of another fostering a sense of curiosity and anticipation.

Despite the sometimes dissimilar content between shots, the soundtrack plays a crucial role in maintaining a consistent mood throughout the piece. This consistency is also reinforced by uniform colour grading between shots. While the framing and motion in each shot may not be mirrored, they are complementary creating a seamless and comfortable transition from one shot to another.

Sound and imagery work in harmony with the soundtrack reinforcing the mood established in each shot. It both connects and guides the viewer through the various vignettes providing a sense of cohesion in an otherwise visually diverse piece. The hard cuts combined with these consistent elements help establish a rhythm and flow that engages the audience and makes for an aesthetically pleasing and thought-provoking video art experience.

The work demonstrates the power of the cut, using them to create a visually stimulating narrative that effectively communicates through both image and sound, while maintaining a sense of continuity and coherence despite the rapid transitions.

[findlayccarter]

Truth or Dare - Jonas Lindstroem

After looking into more documentary work and visual inspiration for my project I was recommended Element (the Kendrick Lamar music video). After watching this I dug deeper into the creator of it and started watching Lindstroem's other work. 'Truth or Dare' was the most outstanding piece of work id seen in a while. Being visually stunning and having an intense and unique pacing style it felt almost hypnotic. On first viewing I didn't even really know what to make of it. On second viewing I thought about themes of anxiety and social issues that are present throughout the world. Going onto read further and finding out that it's meant to represent the bombardment of information online. This really made sense to me, even though the film was made 6 years ago I think it's more relevant than it ever has been. With the amount of different information and entertainment platforms the cycle of information being loaded into everyone from technology is intense. Viewer retention is lower than ever as we've seen with content online becoming shorter and shorter to try and stop the viewer from swiping past. This film does a great job by acknowledging this technological factor by also addressing the type of social issues that people are being shown on a minute to minute basis.

Visually

I want to focus on the cinematography that stood out to me and the techniques that I recognised and will be keen to add and adapt towards my own style.

The majority of the film is stationary with the occasional motivated movement shot. This created a feeling of the viewer purely observing and taking in all information on screen. The action is there and we are simply sat taking it all in. The same way we would be when scrolling through TikTok. The stationary image creates a singular focus on what the image is and helps us relate the overall theme of the film together. The action in each shot of the sequence is unrelated, recreating this feeling of social media.

The composition of each shot varies but the frames that stood out to me were all centre framed. Straight away the viewer knows that this is what the filmmaker wants us to focus on to help explore his story. This technique is paired with colour theory - Lindstroem uses a discordant and analogous colour theme to portray his images. In shots where he wants us to be drawn away or pay particular focus to something he uses a discordant image that makes something stand out to the eye. Or he uses an analogous theme to soften and make the visual more widespread without a clear focus point. This helps with controlling the pacing of the film too as it creates the discordant coloured images powerful when combined with the editing pace.

This area of performative documentary that creates this feeling of an observatory style is interesting to me and something I would like to experiment with further.

[placerdiario]

PEGGY GOU – STARRY NIGHT from Jonas Lindstroem on Vimeo.

Written and Directed by Jonas Lindstroem Cinematography by Nicolai Niermann Produced by Iconoclast 
Executive Producer Nils Schwemer Apple Music Alexa Dedlow Producer Jacqueline Wilkinson Production Coordinator Josephine Conen Assistant to Director Dominique Booker Choreographer Nina Mcneely 
Editor Simon Colin
 Grading Luke Morrison 
Post Production ETC London Post Producer Oliver Whitworth Supported by Apple Music, Iconoclast

Korean Production Compass Executive Producer Tony Choi Producer Seounghui Kim Production Manager Katie Kang Production Coordinator Johana Seung 1st Assistant Director Sumi Kim

Shot entirely in and around Seoul, Korea.

[flustermag]

jonas-lindstroem-for-zeit-magzin-wo-sind-unsere-grenzen by HENRY